underground music (6 resultados)

Soft cover. Condición: Very Good. 40 pages. Illustrated. Andrew Darlington "Invisible City - Underground Music" / Don Webb "The Art of Attention" / Wayne Allen Sallee "The Grin" / Mark Iles "The Yellow" (SL#75).

Saddle-stapled wrappers. First Printing. 4to. Pp. 14. Illustrated with black and white photography and drawings. Photocopy stock, saddle-stapled. Staples a tad oxidized, else Fine. Fanzine capturing the explosion in garage bands, with emphasis on the '60s scene (Dearly Beloved, Tucson; the Unclaimed, Los Angeles) with articles on revival combos such as the Lyres, the Chesterfield Kings, etc. Now housed in a removable, clear archival sleeve with an acid-free backing.

Saddle-stapled wrappers. Condición: Near Fine. First Printing. 4to. Pp. 20. Illustrated with black-and-white photography. Saddle-stapled wraps. Slight age-toning to spine edge, else a bright, fresh copy. Fanzine capturing the tail end of the underground post-punk scene with articles on Radio Birdman, the Mummies, Beat Happening, Monster Magnet, Flipper, etc. An action-packed issue. Now housed in a removable, clear archival sleeve with an acid-free backing.

Saddle-stapled wrappers. First Edition. 4to. Pp. 32, Illustrated with black and white photography and drawings. Photocopy stock, saddle-stapled. A bright, fresh copy. Fanzine capturing the 1980s explosion in garage bands, with emphasis on the '60s scene (The Gentrys; Blues Magoos) with articles on revival combos such as the Tell-Tale Hearts, the Brood, the Boys from Nowhere, etc. Includes the flexidisc, as issued, featuring the Brood and the Boys from Nowhere on one side, the Tell-Tale Hearts and the Podz on the other. Now housed in a removable, clear archival sleeve with an acid-free backing. .

Saddle-stapled wrappers. First Printing. 4to. Pp. 114. Illustrated with black-and-white photography; comics. Bound in color-printed photo-illustrated stiff wraps. Light age-toning, else a bright, fresh copy. Fanzine capturing the tail-end of the post-punk movement with cover article on Mission of Burma, and featuring interviews and reviews covering Big Black, Flaming Lips, Half Japanese, Nick Cave, Lydia Lunch and a bevy of others, with contributors including Steve Albini, Raymond Pettibone, Tesco Vee, Nick Cave Now housed in a removable, clear archival sleeve with an acid-free backing.

Ephemera. Condición: Fine. ***More images available upon request. 745 items. Almost all in fine condition. The flyers and posters range from 1/2 standard sheet size (approx. 8.5" x 5") to large posters (approx. 17" x 14"). Most are standard sheet size (8.5" x 11"). Roughly a dozen duplicates are present. An enormous collection documenting live music, festivals, and performance in the Salt Lake area through the 1990s in the clubs and small venues of the valley. Legendary clubs like the Speedway Cafe, Pompadour, Bar & Grill, Bricks, Spanky's, Playscool, the basement of DV8, Burt's Tiki Lounge, Dead Goat Saloon, Area 51, The Zephyr Club, The Holy Cow (now the Urban Lounge), and Kilby Court are well represented, as well as the holes-in-the-wall like the Moroccan, Painted Word, Shaggy's Living Room, and Green Guinea. Educational and cultural institutions, and outdoor venues are also prominently featured in this collection, including Bryant Intermediate School, the University of Utah Ballroom in the Union Building, Westminster College, the Indian Walk In Center, Draper Park, and the Fairgrounds Creative Arts Building. Some places provided venues on a weekly basis, other places provided them only a few times, or maybe even just once. A number of flyers showcase then unknown bands who first played tiny venues like these, and who went on to gain a larger audience and, in some cases, are still performing today (The Vandals, Social Distortion, Bad Religion, GWAR, Slayer, Johnny Rotten, Suicidal Tendencies, Korn, and many others). Countless local acts are represented, including those that performed steadily throughout these years (Iceburn; Endless Struggle; Starmy; Red Bennies; Bob Moss; Daughters of the Nile), as well as bands that were together for slightly shorter periods (Mouthbreather; Gnawing Suspicion; Wovoka, etc.). Interestingly, a handful of local bands that had their origins in the 1980s appear such as Bad Yodelers, Potato Heads, Dinosaur Bones, The Clocks (a noise band), Slaughterchrist, and the Stench. The bands are announced in a way that was standard during this period- with imaginatively designed, often do-it-yourself paper flyers, posters, and handbills. The lion's share are illustrated, with no mention of the artist. Some are very simple, just delivering the necessary information. This collection manages to document the entirety of the music scene, instead of a single genre, with numerous examples of posters and handbills promoting Hardcore, Punk, Pop, Rap, Metal, Industrial, Folk, Bluegrass, Rockabilly, Psychobilly, Ska/Reggae, etc. Not only does this archive highlight the bands and the incredibly diverse musical movements that were moving through Utah during this period, but at the same time, it calls attention to the promoters who worked so hard to put the shows together, find willing venues, and get the word out to the public- promoters such as Raunch, Modified, Heavy Metal Shop, Graywhale, KRCL, and Slug Productions. Finally, when flipping through the flyers, one can't help but think of the artists behind the scenes who created the flyers, thereby playing a large role in advertising the events. The bands that passed through Utah came from from far and wide, as is evidenced in these flyers, and they performed at all types of different venues. They came from Washington D.C., California, Missouri, Michigan, the UK, Canada, and a multitude of other places. More often than not, after a band played, the members did not disappear backstage, never to be seen again. Instead, most of them watched the other bands that were playing, and they mingled with the people who had come to support them, creating a significant exchange of experiences and ideas. The shows were frequent, widening the audience's world and cultivating a sense that there was something to do in a state known for its sheltered lifestyle and conservatism. Many of the shows took place in Salt Lake City, however they also radiated out to areas which included Murray, Provo, Bountiful, and Lo.